Dogwood And Dead Vine, 5 4 21, Photo By Joe Bruha, Copyright 2021

maja bajevic, en attendant, 2001

Anna Maria Maiolino, Piccole Note, (ink on paper), 1984 [MoMA, New York, NY. © Anna Maria Maiolino]

Pierre Boucher, Femme-fleur, inversion négatif-positif, solarisation et photogramme, 1937

‘Concrete Mirrors’

Concrete Mirrors deals with the iconography of space conquest during the 60s, back to a climate of suspicion and paranoia linked to the cold war. Presented as a fake photograph-documentary, this project puts together three corpus of images of different nature and status, combining types of reality, these are documents, and virtuality, those are places.

David de Beyter Photography

The Black Panthers fed more hungry kids than the state of California

It wasn’t all young men and guns: the Black Panther Party’s programs fed more hungry kids than the state of California

The Black Panther’s Free Breakfast for Children Program is probably their best-known initiative, the press finding an intriguing story juxtaposing the Panther’s tough-guy-in-leather-jacket image with the act of serving small children plates of hot food. Importantly, it was mostly women who led these survival programmes, and women made up a majority of the Panther membership. They served in leadership roles from ‘Officer of the Day’ (essentially the office – and people – manager for each branch), to organising the many details of a location’s breakfast programme to initiating and leading food justice, healthcare and housing programmes within neighbourhoods.

So why does the image of the Panthers as a masculinist and violent organisation persist? The answer lies in part with media distortion, influenced both by the sexism and racism that misrepresented the Panthers. There was also a misinformation campaign by the FBI, led by J Edgar Hoover, waged against the increasingly popular Panthers, which had an enduring impact on how people saw them.

Audre Lorde, (1976), Between Ourselves, in The Black Unicorn, W. W. Norton & Company, New York, NY, 1978, pp. 112-114

Tatiana Samoilova in The Cranes Are Flying 1957 dir. Mikhail Kalatozov

Otto Piene (German, 1928-2014), Black Yang, 1985. Oil, traces of fire and smoke on canvas, 80 x 100 cm.

Nell Dorr, 1939

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